The attention economy hasn't just proven to be a losing proposition for media businesses financially. It also encourages quick, outrage-based political coverage that thrives off of (and feeds) poor governance, according to Steve Hayes, CEO and co-founder of the Dispatch.

"Everything we're seeing in our politics has an emphasis on performance," Hayes said on the Digiday Podcast. "The economic incentives and business models that everyone has pursued in this space in the past 10-15 years have contributed pretty significantly to that."

With the Dispatch -- a newsletter-first media company that leans conservative -- Hayes is aiming for subscribing members who aren't monetized by the minutes they spend reading the company's coverage.

"We don't need your clicks. Come, learn and then go. Live your life," Hayes said. The Dispatch put up a paywall in February, and now has 12,000 paying members — around 450 of them paid $1,500 for lifetime memberships when the company launched in October, according to Hayes. "It's growing faster than we had anticipated."

The membership model has also helped the Dispatch forgo venture capital or billionaire ownership, the risks of which Hayes learned first hand as the last editor-in-chief of the Weekly Standard, a conservative institution that billionaire owner Philip Anschutz shut it down in 2018.

The Dispatch and its staff of 12 aim for the same conservative readership. Despite concrete evidence of growing polarization, Hayes also gestures toward a middle ground in U.S. politics representing perhaps 70% to 75% of the U.S. population.

Teen Vogue editor-in-chief Lindsay Peoples Wagner believes the time is now for change in media and fashion.

"I want to see brands, publications, everyone in the industry commit to a long, sustainable change," Peoples Wagner said on this week's episode of the Digiday Podcast.

Peoples Wagner is a rarity in glossy media: A 29-year-old black woman from a small university in the Midwest, without connections or a rich family bankrolling her initial career. Instead, she worked her way up, moonlighting dressing mannequins and working as a waitress. In October 2018, she was named the top editor of Teen Vogue, which has made a name for itself by melding fashion with social issues.

She recognizes her path isn't for everyone -- and media and creative professions need to adapt in order to expand opportunities to underrepresented groups.

"You have to be willing to hire different kinds of people who will challenge you," Peoples Wagner said.

Sports media and betting are on their way to being inextricably intertwined.

"If you look at the traditional way sports betting has been launched in Europe and even in North America -- in the offshore and black markets -- how people bet is through betting apps," said to John Levy, CEO of theScore, a Canadian sports media company.

Those apps aren't where betters get their actual score lines and injury updates; they're where gamblers turn to once they've watched the game or read about it elsewhere.

"They're nothing more than a transactional app," Levy said on the Digiday Podcast.

Close to half of U.S. states (and Washington, D.C.) have legalized sports betting to some degree in the two years since the Supreme Court struck down the law that banned it nationwide.

Sports betting may be on hold right now, but publishers like Barstool Sports -- purchased by gambling operator Penn National Gaming in a deal that valued the company at $450 million -- have been betting on the category growing once sports come back later this year. Like theScore, the acquisition will allow one company to facilitate wagers while also providing betters with the sports news they base their risk-taking on.

The industry is estimated to be worth $8 billion by 2025.

Levy thinks legalization will be accelerated by the coronavirus pandemic's effect on public funds at a state level.

"That's trillions of dollars that they're now trying to recover, and I don't care what side of the political fence you're on, the reality is the governments are going to have to start to figure out how to replenish those coffers," Levy said.

A majority of theScore's users bet on sports instead of just reading about them, Levy said, citing third party (and the company's own) data. Nearly half of the bets happen while the relevant game is in play, and despite being a Canadian company, 70% of theScore's users are in the U.S.

For Telemundo, shifting to streaming platforms -- everything from parent company Comcast's Peacock to Quibi -- is an obvious choice based on a simple fact: The median age for Latinos in the U.S. is 28, much lower than that of the country as a whole.

For Telemundo SVP of Digital Romina Rosado, that means the network needs to be on every new platform it can be to reach the 60 million Hispanics in the U.S.

"Hispanics actually over-index on a lot of social and digital platforms," Rosado said on the Digiday Podcast. "So for Telemundo, even before covid-19, it was a big part of our mission to make sure we were available on all the platforms."

Telemundo has about 3,000 hours of programming on NBCU's Peacock and two programs on Quibi, which Rosado believes will take off once coronavirus ends

"There's a tremendous amount of schadenfreude here at play, which seems to be a bit of a way that media reacts to media lately," she said. "People are making very quick judgments, and I think we might all be surprised."

McClatchy CEO Craig Forman describes the local news company as more relevant than ever.

"The coronavirus crisis has been a reminder to all of us in our communities of just how important it is that our communities be strong and vital," Forman said on the Digiday Podcast. "We've never seen digital traffic or even demand of the scale that we've seen for McClatchy."

McClatchy -- home to local papers like the Miami Herald, The Kansas City Star and The Sacramento Bee -- has seen digital traffic increase by nearly two-thirds to reach 100 million users in March, according to Forman.

“If you talk to our local customers, they’ll say that their need for local news is not met by any of the national news publications," Forman said. “The kind of coverage that you get in Kansas City -- the award-winning investigations into secrecy in the Kansas state government that force political change there, or even the national series that results in Pulitzers -- we have 54 of them over the years -- that’s not provided by the national media, and that is the core to local essentialness, and that’s where the strength is for local brands.”

But despite this boost, Forman acknowledges "a real paradox." McClatchy doesn't see that "essentialness" translating as much (yet) on the advertising side. That is why Forman is making a case that advertisers must again re-focus on the context in which their advertising appears.

“What often you can’t find in the world of digital advertising is the adjacency and the renown brand construct that makes your advertising important in context," he said. "And at this time where local is the success story of the emergence, McClatchy and others are doing everything we can to partner with local brands to show them that the trusted environment of local news is where they need to be.”

The news publishing industry may be getting squeezed by the pandemic economy, but for Interactive Advertising Bureau CEO Randall Rothenberg, it set itself up for failure long ago, by leaning too heavily on advertiser revenue.

"When the United States became a national marketplace in the mid to late 19th century, that marketplace was so big, so vast and laden with opportunity that it just made much more economic sense to premise your revenues and growth as a publisher on advertising," Rothenberg said on the Digiday Podcast.

Even the New York Times, which is riding a high of more than 6 million subscribers, is foreseeing a drop in ad revenue of up to 55% in the second quarter, leading its head of advertising to say layoffs are likely.

Rothenberg said that historically, that shortsightedness extended to magazines and even television -- media products for which, in Europe, consumers paid premiums.

His big takeaway: " You need to diversify your revenue streams. Period, full stop."

One bright spot for Rothenberg is the growth of central authority in the industry.

"I'm really hopeful now, more than I have been ever in the past 15 years," Rothenberg said. "It has been extraordinarily difficult to get the various segments, players, companies and executives across the vast and unruly marketing and media supply chain to agree on the basic best practices and technical standards that must undergird any industry supply chain."

Verizon Media's value to Verizon itself isn't just as a media arm that can send user data or benefits back to the conglomerate.

Rather, its base of 900 million monthly active users is significant enough to bring value just across Verizon Media's properties, including Yahoo, TechCrunch, AOL and HuffPost, according to CEO Guru Gowrappan.

On the Digiday Podcast, Gowrappan set up the example of an article about meditation on the newly launched Yahoo Life. "You can start not just having content but taking content and saying 'Oh, you read about something, you may want to do a meditation session,' and bringing that entire closed loop ecoysystem in the same wall," Gowrappan said.

Gowrappan talked about what we can learn from consumer behavior in China, what the pandemic's effect on internet infrastructures will be and how he cut his teeth at Overture.

Growing a web publishing business from a small starter loan and your own profits "toughens you" in ways that are different than venture-backed media according to Digital Trends CEO Ian Bell.

The bootstrapped tech publication has grown the old-fashioned way -- that is taking in more money than you spend -- since 2006. This year, Digital Trends expects $50 million in revenue. It has not laid off or furloughed any workers despite feeling the pain of the downturn. Digital Trends also will be profitable again this year, Bell said.

"Running the old fashioned way, off of profits, creates a grittier leader," Bell said on the Digiday Podcast. "You get forced to have those tough conversations with the bank, with your team. You have to meet covenants. You have to make sure that you survive at all costs. In a lot of ways it toughens you."

"We'll be profitable again this year," Bell said on the Digiday Podcast. "The momentum's there."

Widespread lockdowns have led people to lean more than ever on their electronics, whether to connect with loved ones or stay busy and entertained. Bell sees that as an opportunity.

"You're going to find that people got that technology dopamine drip, and they're going to continue to rely on it more than they did prior," Bell said. . We're uniquely poised to be right there for them."

The Guardian's pivot to paid has a unique twist: There's no paywall. Instead, The Guardian relies on reader contributions -- a model gaining believers in news organizations caught between making their coronavirus coverage free of charge and facing ad shortfalls at the same time.

"There's absolutely no doubt that we're going to see a boost to our reader revenue during this period," said Guardian U.S. and Australia CEO Evelyn Webster on this week's episode of the Digiday Podcast. "We are going to see our advertising hit hard. I do not know how hard and how deep. I don't think any of us do. [But] even in the most dire scenario that I have looked at, the Guardian would still be a profitable business in America. So are we well positioned to continue our journey to grow? Yes. And I feel very confident about that."

Reader contributions from American readers at about 40-45% of the US operation's income. Thanks to this evolving revenue scheme and a serious cost-cutting effort, in 2019 the Guardian as a whole made its first operating profit in 20 years.

The Guardian recorded its best month ever in terms of web traffic.

"There is absolutely no doubt that that is what's driving the current trend," Webster said in reference to the pandemic. "We hit 114 million browsers in March, and that was an increase [of] 80 to 90% on the prior month and about 160% on the prior year."

Webster talked about the difference between British and American contributor behavior, why the U.S. can use the perspective of a British newspaper and how the Guardian's ownership structure (it's owned by a trust) keeps its coverage impartial.

About a third of the MIT Technology Review's revenue comes from events, according to CEO Elizabeth Bramson-Boudreau.

That piece of the pie is obviously under threat as activity in the United States remains frozen by the coronavirus pandemic.

"We had to make a call on our largest event, called EmTech Digital, entirely on AI," Bramson-Boudreau said. "Our highest-yielding event."

"What were we going to do? Were we going to reschedule it? Or were we going to move it to a virtual event?" A few weeks before the event -- scheduled for March 25th -- they decided on the latter route, streaming 20 hours of content over three days. As a result, they were able to save "about 50%" of their sponsorship revenue for the event, according to Bramson-Boudreau. "We then rolled the remaining 50% into other digital products," she said. Dropoff among online viewers, too, was lower than expected.

She credited that relative success on a quick focus on recreating the event's interactivity. "It's the interaction that we can provide that's a value. We needed to find a platform that allowed for that kind of interaction, and the programming team really leaned into thinking about interactivity and community and how to foster that digitally," Bramson-Boudreau said.

Bramson-Boudreau talked about the benefits to being owned by MIT, how she thinks live-streamed events can be improved and how an economic downturn is a good time to spend.